For his FILMography project, photographer Christopher Moloney aligns movie stills with their present-day backdrops. Buddy Bradley marvels at the continuity:
One of the things that’s so impressive, particularly in the US where everything always seems in a state of flux, is how some of the sites used in films from the 1940s and 1950s have hardly changed at all, or how the same sites have been re-used for different films, sometimes using different perspectives.
Henry Grabar appreciates the discrepancies:
The building don’t always line up perfectly; the colors seldom match. But the dissonance gives the shots meaning. (If you wanted seamless, you should have rented the movie.)
Explore hundreds of match-ups here.
(Photo: Annie Hall, 1977, and FILMography by Christopher Moloney)
The Dish 